19세기 후반기 ‘표제적 연주회용 서곡’의 장르적 의미에 관한 고찰 - 댕디의 서곡 3부작 《발렌슈타인, op. 12》를 중심으로
A study on the genre meaning of 'Programmatic concert overture' in the late 19-th century - focused on the d'Indy's overture trilogy 《Wallenstein, Op. 12》
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The genre meaning of 'programmatic concert overture' in Vincent d'Indy(1851-1931)'s overture trilogy, “Wallenstein” can be discussed at two main aspects. First, considering that the dramatic narrative of the opera was reflected in the musical constitution, this work inherited the tradition of 19-th century opera overtures and can be understood as a kind of 'musical drama'. Seconds, composers of ‘programmatic concert overtures’ had used continuously the name of genre 'overture', followed the programmatic overture's tradition of Beethoven and Wagner and had continued the efforts of various representation of the program in the sonata movement format based on the principle of repetition, which had been terminated in the symphonic poem by Liszt. Therefore, the relation between the program and musical constitution should be considered in the history of the traditional 'programmatic overture, which was initiated by Beethoven and developed by many composers including Wagner.
Abstract
The genre meaning of 'programmatic concert overture' in Vincent d'Indy(1851-1931)'s overture trilogy, “Wallenstein” can be discussed at two main aspects. First, considering that the dramatic narrative of the opera was reflected in the musical constitution, this work inherited the tradition of 19-th century opera overtures and can be understood as a kind of 'musical drama'. Seconds, composers of ‘programmatic concert overtures’ had used continuously the name of genre 'overture', followed the programmatic overture's tradition of Beethoven and Wagner and had continued the efforts of various representation of the program in the sonata movement format based on the principle of repetition, which had been terminated in the symphonic poem by Liszt. Therefore, the relation between the program and musical constitution should be considered in the history of the traditional 'programmatic overture, which was initiated by Beethoven and developed by many composers including Wagner.
참고문헌 (21)
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